Boston Symphony Orchestra Concert Programs, Season 54,1934-1935

SYMPHONY HALL, BOSTON HUNTINGTON AND MASSACHUSETTS AVENUES

Branch Exchange Telephone, Ticket and Administration Offices, Com. 1492

FIFTY-FOURTH SEASON, 1934- 1935

CONCERT BULLETIN of the

Boston Symphony Orchestra INCORPORATED

Dr. SERGE KOUSSEVITZKY, Conductor

Richard Burgin, Assistant Conductor

with historical and descriptive notes

By Philip Hale and John N. Burk

The OFFICERS and TRUSTEES of the

BOSTON SYMPHONY ORCHESTRA, Inc.

Bentley W. Warren President Henry B. Sawyer Vice-President Ernest B. Dane Treasurer

Allston Burr Roger I. Lee Henry B. Cabot William Phillips Ernest B. Dane Henry B. Sawyer N. Penrose Hallowell Pierpont L. Stackpole

M. A. de Wolfe Howe . Edward A. Taft Bentley W. Warren

W. H. Brennan, Manager G. E. Judd, Assistant Manager

[1021 ] Old Colony Trust Company 17 COURT STREET, BOSTON

Executor • Trustee

Guardian

Conservator • Agent

^Allied with The First National Bank of Boston

1022 [ ] Contents

Title Page ...... Page 1021

Programme ...... 1025

Analytical Notes:

Bach The Passion According to St. John 1027

A Passion Performance at Leipzig 1042

Text (in English) of Bach's St. John Passion 1048

Announcement Bach-Handel Festival . . . 1044-1045

" " To the Friends of the Boston Symphony Orchestra . 1064

The Next Programme ...... 1065

Special Concert Announcements . 1066

Teachers' Directory ...... 1067-1068

Personnel ...... Opposite page 1068 1Q [ 23 ] Cbantiler & Co. TREMONT STREET AT WEST

cAn Exceptional 'Ualue^

A New RINGLESS

Chiffon Stocking

IJanity tyair

Spring Colors . . . They have everything you MACAROON need for smart, fashionable SUNBRIGHT appearance. Perfectly knit- SUNDARK ted of the finest quality SUNDIAL THRUSH silk, and cleverly reinforced TOWNWEAR for serviceability beyond SMOKE your fondest expectations.

We predict that when you see them and feel them you cant resist laying in a season's supply at this

price. All silk heel, plaited sole and toe. Street floor.

[1024]

^mm FIFTY-FOURTH SEASON, NINETEEN HUNDRED THIRTY-FOUR AND THIRTY-FIVE

Twenty-second Programme

FRIDAY AFTERNOON, April 19, at 2:30 o'clock

SATURDAY EVENING, April 20, at 8:15 o'clock

Bach-Handel Festival

Bach THE PASSION according to St. John

Evangelist and solo tenor Dan Gridley

Jesus and solo bass Keith Falkner

Maid and solo soprano Olga Averino

Solo contralto Marie Murray

Peter and Pilate Royal Dadmun

Harpsichord, Putnam Aldrich Viola da gamba, Alfred Zighera Viole d'amore, Jean Lefranc, Albert Bernard Organ, Albert W. Snow

BACH CANTATA CLUB, Mrs. Langdon Warner, Conductor

[First performances at these concerts]

Because of the nature of the music, it is requested that there be no ap- plause; also that any who may be unable to stay until the close, leave during the intermission (the afternoon performance will end at approxi- mately 4:15; the evening performance, at 10 o'clock)

[ 1025 ] To announce The Openins f our New Bridal Shop.

We've enlarged our quarters on the Second Floor, Main Store, and we're better prepared than ever to plan, advise, select and

shop for your trousseau and all the odd and sundry incidentals thatperplexthe bride-to-be. And speaking of trousseaux, we've just unpacked some very charm- ing new wedding dresses, rang-

ing from $16.75 to $165 in price.

Write or phone our Bridal Consultant, Miss Ann Rummelhart, for an appointment. Telephone HANcock 9ooo.

THE BRIDAL SHOP — SECOND FLOOR MAIN STORE

[1026] THE PASSION ACCORDING TO ST. JOHN

By Johann Sebastian Bach

Born at Eisenach, March 21, 1685; died at Leipzig, July 28, 1750

The " Johannespassion " * was the first of five Passions which have been attributed to Bach. Among them, this and the " Matthaus- passion " only are complete and authentic beyond dispute. Each, according to a custom during Bach's Cantorship at Leipzig, was performed at the Good Friday Vesper service of the St. Thomas Church one year at the St. Nicholas Church the next. The St. Matthew Passion was first performed at St. Thomas' in 1729; the St. John Passion was probably Bach's inaugural score at Leipzig (other than the cantata

* A performance of this Passion was announced on April 16, 1897, as " First time in Boston." There was a chorus of fifty from the Handel and Haydn Society, a " string orchestra and flute," Mr. H. G. Tucker the conductor, and no church or auditorium specified. A performance Good Friday, 1899, at the Second Church, Copley Square, with what seems to have been more numerous participants, was announced as " the first public performance in America." This is refuted by Raymond Walter in his history of the Bethlehem Bach Choir, which he states to have sung the St. John Passion in the Pennsylvania town, June 5, 1888, under Dr. Wolle — " the premier complete rendition in America." The assertion was supported by a letter from Carl Zerrahn, then conductor of the Handel and Haydn Society in Boston, to the effect that at that time the society had given only a few fragments of the work. There is no available record of a full concert performance in Boston. EARLY AMERICAN SONGS Adapted and Edited by Harold Vincent Milligan — Each volume issued for high and low voice THE FIRST AMERICAN COMPOSER. 6 songs by Francis Hopkinson, net including the first American song, " My days have been so wondrous free " 1.50 (Schmidt's Educational Series No. 212a-b) COLONIAL LOVE LYRICS. 6 songs by Francis Hopkinson 1.25 (Schmidt's Educational Series No. 213a-6) A WASHINGTON GARLAND. A volume of songs by Francis Hopkinson, dedicated to George Washington. Contains facsimiles of Hopkinson's ded- ication and Washington's letter of acceptance 1.50 Songs by Francis Hopkinson, published separately MY DAYS HAVE BEEN SO WONDROUS FREE. The first American song (2 keys) .40 O'ER THE HILLS (2 keys) .45 PIONEER AMERICAN COMPOSERS. Containing early American songs by Pelissier, von Hagen, Swan, Reinagle, Taylor, Carr, Hewitt and Wilson Book I (Schmidt's Educational Series No. 256a-6) 1.25 Book II (Schmidt's Educational Series No.288a-b) 1.25 FRENCH-CANADIAN SONGS Adapted and Edited by G. A. Grant-Schaefer — For medium voice (Texts in French and English) Sainte Marguerite I Hear the Millwheel Down to the Crystal Streamlet Red River Boat Song The Nightingale's Song St. Lawrence Boat Song The White Rose Tree Price complete, $1.25 net Also published separately

The ARTHUR P. SCHMIDT CO. 120 Boylston St.

[1027] which he submitted as candidate to the post of Cantor of the St.

Thomas School, February, 1723) . It is conjectured that this Passion had its performance at the St. Thomas Church, Good Friday, 1723,* a fort- night before his formal installation. With this score, Bach turned away from the instrumental music which had so long occupied him at Cothen, and devoted himself to the music of the Protestant Church ritual. A not inconsiderable part, but still only a part of his duties at Leipzig was to provide and perform, not only such scores as the Passions, the Magnificat, the Mass in B minor, but a new cantata for each Sunday and each Holy day. There must have been little short of three hundred cantatas in all, of which one hundred and ninety are extant.

* Spitta assumed that the performance of the St. John Passion in the " Nikolaikirche " on Good Friday of 1724 was the first, and Parry supports him: " It is true there is no proof posi- tive of the date, but if the arguments in favor of its having been 1724 are somewhat intricate and unconvincing, the arguments in favor of any other date are not forthcoming." Arguments in favor of 1723 have been forthcoming since Spitta's time — namely by Albert Schweitzer, seconded by Charles Sanford Terry. The earlier writers rest their case on the fact that Bach was not officially installed in his position as Cantor until May 31, 1723, at which time Good Friday had passed. But the later writers point out that Bach's appointment to the Cantorate at Leipzig (actually made April 22) followed a vacancy of nearly a year, that Bach was probably sure of the position from January, and seems to have composed the Passion during that winter in Cothen, as if with a spring performance at Leipzig in mind. The Town Council would hardly have omitted in that year the repetition of a custom firmly established by Kuhnau in 1721, merely because their new Cantor, with a freshly written Passion in his port- folio, had not been given the formalities of installation. The Council is known to have made this very exception on another occasion. In 1729, a vacancy occurring in the New Church, they arranged for one of the candidates to provide the Good Friday music. LAMSON & HUBBARD

Care For Your Furs? YES-WE DO FUR Our Fur Storage STORAGE covers all risks Rates 3% on reasonable valuation

SUITS • DRESSES • SPRING COATS 304 Boylston Street, Nr. Arlington...Kenmore 5350

1028 [ ] This astonishing output may not have been so onerous to this most fertile of composers as the meagre and ill-equipped performers which were allotted to him for its production. Leipzig could not have exacted, could not have more than dimly appreciated the great music that he gave them. When Bach, with two strokes of his quill inscribed before the title of his St. Passion: (" John's "J. J." Jesu Juva") , he was in reality addressing the score, not to a particular congregation, not to a miserable group of half-starved choir boys and bungling " town pipers," but simply and with whole sincerity to his God, his heart overflowing with music of love and praise. It might be questioned whether any composer since could have so addressed himself entirely without affecta- tion, or thoughtless formality. "Like all music," wrote Bach in 1738, listing the principles of accompaniment for his pupils, " the figured bass should have no other end and aim than the glory of God and the re-creation of the soul."

Taking up the St. John Passion, Bach first concerned himself with an age-old and fully developed form, a time-sanctified relic of German Protestantism. As with other forms, he simply accepted what he found, a type of music about to pass into disuse, and lifted it, with the force of surpassing genius and devotion, to an untold degree of poignant expression. After the St. Matthew Passion, musical depiction of that dramatic narrative could go no further.

"SPRING IN TOWN" -THE COSTUME CONTINUES WITH US INTO EARLY SUMMER — OUR LATE SEASON INTERPRETATIONS IN COOL SHEERS AND CRISP PRINTS EMBODYTHE VERY NEWEST EXPRESSIONS OF PARISIAN FANCY-TAFFE- TAS-PUFFED SLEEVES-SKIRTS THAT ARE CIRCULAR OR GORED AND A LITTLE SHORTER-

HurmfchBroa

|[MMmXl^i1»]aDMaM»>MiL#17i7'!IMj

[1029] The procedure was simple enough. Bach, following established custom, took the chapters from the biblical text describing the arrest, the trial, and the crucifixion of Jesus. This text, set in the form of a dramatic recitative, he put in the mouth of the " Evangelist," by tradition a

tenor voice. The direct words of Jesus (always a bass) , Pilate, or Peter, were given to other singers, within the recitative, while the interjections of the crowd or the soldiery were given to the chorus. After each sorrow- ful episode of the story, there would be a solo, set to a text written for

the occasion, an outburst of pity, or exalted devotion, as if the emotion aroused by the tragic event were too intense to be restrained. The chorales were affirmations of faith similarly inspired by the narrative, hymns where the congregation participated in the service.

A backward glance at the development of the Passion music in the German Protestant Church merely emphasizes the fact that Bach, in writing his St. John Passion, merely followed, in every respect, an im- mediate precedent of procedure — with the signal difference that he poured immortal feeling into the prescribed mold. The Lutheran reformed church inherited from the Roman ritual the custom of presenting the story of the divine passion in musical form. Johann Walther, as early as 1530, set the Passions both according to St. Matthew and St. John, and after him Bartholomaus Gese left a Passion in which the Evangelist intones the narrative while from the chorus

OLIVER DITSON COMPANY, INC. Retail Music Store

359 BOYLSTON STREET {at Arlington) BOSTON, MASS.

c^» t^-» «^» For All PublishedMUSIC

Largest stock of sheet music and music

books in New England. Every outstanding

American and Foreign publisher represented.

t^> t^» «^»

D I T S O N ' S 359 BOYLSTON STREET TEL. COMMONWEALTH 1350

[1030] DACHE LILLY DACHE

Lilly Dache hats are to be found only at Slattery's in Boston! An ^exclusive* of which we are justly proud, for Lilly Dache creations you know are the pets of America's smartest women

. . the darlings of Vogue and-Harper's Bazaar. We have arranged for fresh shipments of Lilly Dache hats, daily . . dupli- cates in detail, in fashion, and in price of the magnificent models you see in the famous Dache Salon in New York.

[ 1031 ] :

comes not only the " Turba," the voice of the crowd, but the individual parts of Jesus, Peter, or Pontius Pilate. Heinrich Schutz, about the middle of the seventeenth century, set all four of the evangelists. It should be noted that all of the choruses were a capella and polyphoni- cally treated according to Roman tradition,, that the recitatives were equally circumscribed by formal custom, although in the fervor of his subject, the composer often achieved living expression. C. Hubert H. Parry notes that until this point in the development of the Passions, the chorale had not yet made its appearance.

" It is characteristic of Teutonic disposition," Parry continues, " to dwell upon things which appeal to the feelings, and, as it were, to contemplate them from various points of view. The old method of Passion music was merely to go through the story without pause. The practice of pausing and contemplating came in late in the seventeenth or the beginning of the next century, when arias for solo voices, forming com- mentaries on salient features of the story, were introduced; and about the same time chorales were also introduced to enable the congregation to feel that they were taking part in the solemn function. Then, as time went on, the contemporary types of artistic method came in more and more, the archaic plainsong formulas were transformed into recitative, the dramatic choruses expanded, and the points where pauses were made to contemplate and emphasise the salient situations were more effectively utilised as composers mastered the modern Italian types of

US' .TTOJ^

Beauty con not be built up without a

::::,••--•- foundation of conditioned muscles. Eliza* -;>: v-sms*N beth Arden has perfected exercises that

will correct your individual faults in car-

riage, poise and weight. Visit her Salon.

See how pleasantly these things can be

accomplished. > • the satin mats where you

lie, perfectly relaxed, and do your reducing

exercises to music. The worm/ luxurious

Ardena Bath, where the pounds are melted away. The invigorating massages which

follow every treatment. The cool and restful uimmmmm facials which make you into a new person. Prolong youth through the years.,, bid

Farewell to Age I You can, If you will, ^&ep

a young body as well as a young face!

24 NEWBURY STREET, BOSTON

& 1984 B. A.

[ !032 ]

1 10 [ 33 ] solo and found out how to make the chorale movements more effective and interesting. By the beginning of the eighteenth century the stand- ard of art had become very comprehensive." In Handel's first Passion, attributed to 1704, the same writer finds the as yet un-Italianized Handel, as thoroughly Teuton as the form he was treating — the expressive and emotional freedom of recitative, the aria of contemplative character, even the plan of sequence and the choice of final chorus, provides the very pattern of the Bach to come.

Still, however, the chorale is absent. In the Passion of Reinhard Keiser (1712) set to a text of B. H. Brockes, whom Bach also used, and the passion of Kuhnau, Bach's predecessor, the chorales are introduced. In short, the form of the Passions, long held by ritual conservatism to a rigid archaism, gradually succumbed to the dramatic freedom of the operatic style, the opera having become a powerful influence in Leipzig, and when every liberty of the oratorio was admitted at the New Church, the St. Thomas Church was forced to follow suit, which it did with Kuhnau's Passion in 1721.

The score of the St. John Passion is inscribed " /. /. Passio secudu

Joane a 4 Voci 2 Oboe 2 Violini Viola e Cont. di J. S. Back." Of the 92 manuscript pages, the first 20 are in Bach's hand. This score repre- sents the revision which the composer made for the performance of 1727.

from our Southern Collection

B. 3155 "Little Peasant." Copied from a Tyrolean

peasant shoe. Wear it with slacks, shorts and all in- formal sports costumes. Red, green, clipper blue or white genuine Morocco. $12.-75

THAYER McNEIL 47 TEMPLE PL. 414 BOYLSTON ST. COOLIDGE CORNER WELLESLEY SQUARE

[ 1034 ] ml li 1 111111171

cfhearns "OXFORD SAILOR"

was designed for Spring suits. It's a Darford hat

of hand-woven Rickrack straw. Millinery

Salon, sixth floor. 98.75 R- H. STEARNS CO.

[ !Q35 ] The Passion is scored for strings, two flutes, two oboes, organ, and continuo. The orchestra doubles the vocal parts in the chorales, and accompanies the choruses. The recitatives are accompanied only by organ or harpsichord. Parry notes the intentional absence of brilliant coloring in the instrumentation — " Bach omits trumpets as well as

the horns altogether from the score of the ' Johannespassion.' It was natural that, for a function, the object of which was the devout con- templation of the central mystery and tragedy of religion, he should choose instruments of more subdued tone, and he distributes them with evident consideration for the enhancement of the sentiment." But Bach seeks variety among the instruments of sombre character. In those numbers which represent the Jews' expostulation to Pilate, the second oboe

part is given to the oboe d'amore, a deeper oboe, and in the successive tenor and soprano arias deep lamentations over Christ's death, the dark

color of the oboe da caccia (or its modern equivalent, the English " horn) is used. In the bass arioso, Consider, O my soul! ", a viola d'amore and lute are indicated, and in the tenor aria which follows, two " viole d'amore. In the final alto air, It is finished," the solemn moment of Jesus' death, the viola da gamba (antecedent of the violoncello) is used. Evidently not yet provided with a librettist, when, in 1723, still at

MEMORIALS for EASTER

WEDDING PRESENTS

The Society of Arts & Crafts

32 Newbury Street Boston

Commonwealth 181 o

1 Practically every LIBERTY kind of Insurance SQUARE except Life including Fidelity BOSTON and Surety Bonds

[ 1036 ] .

Cothen, Bach needed a text for his St. John's Passion, it is conjectured that the composer contrived his own verses. He must have relied upon texts of the Hamburg Councillor, Barthold Hinrich Brockes, which Handel had set. At any rate, a number of stanzas used by Bach are re- visions of Brockes. Spitta, comparing the original and the borrowed lines, says, " Brockes' words are in the very worst taste, but Bach's verge on utter nonsense." Yet Schweitzer finds that Bach " avoids the insipidi- ties of Brockes," and " turns his dramatic ideas to better purpose." His choice of the Evangelist John (if it were choice and not compulsion) has puzzled the commentators. The text of St. John narrows considerably the account of Christ's last hours. The last supper, the agony in the garden, the prophecy of Peter's denial, the suicide of Judas Iscariot, the mockery of Christ upon the cross, the convulsions of nature at his pass- ing — these essentially dramatic episodes, which Matthew vividly treats, are omitted in the gospel of John who, devoting two chapters (18 and

19) to the story, begins with Christ's arrest. The St. Matthew Passion, beginning with the last supper, only reaches this point at the end of the first part. The St. Matthew Passion is consequently more pictorial, more popular in appeal. It is likewise more wide spread, more dis- jointed in its narrative, and lends itself to the interspersion of contemplative arias and chorales. The St. John Passion is as a narrative more detailed, more continuous despite the fact that Bach took from Mat- thew such striking episodes as the earthquake, and Peter's remorse, and incorporated them in the text of John. This narrative dwells in more detail upon the trial of Christ for his life, his questioning by Pontius Pilate and the High Priest, and his skillful answers — material less exterior, more subtle and thoughtful, and not without its tensely dramatic side. The St. Matthew Passion, containing seventy-eight successive choruses, airs, and recitatives, is considerably longer than the St.

EW CLOTHES R.O. WALTER

AND MILLINERY. . FOR SPRING LIFE INSURANCE

All Its Forms

IOO MILK STREET • BOSTON Retta C. Thomas HANCOCK 6lOO BOSTON

_683 BOYLSTON STREET—

[ 1037 ] .

John Passion, which numbers only sixty-eight. The score of the St. John Passion was revised not less than three times for subsequent performances, as changes in the parts show. The score which has come down to us is that used at a performance of 1727, other choruses having been used before (such as the present closing chorus of the first part of the St. Matthew Passion, which originally opened the St. John Passion) The score is certainly not lacking in vivid musical description; there may be mentioned the ejaculatory choruses — the shouts of " crucify him " by the crowd, the derision of the soldiery, the long melisma on the word " scourged " when violent hands are laid upon Jesus. The " Saviour's last words — " It is finished (" Es ist vollbracht ") are given

to a falling phrase, almost a leitmotiv, which is significantly treated in

the ensuing contralto air (with viola da Gamba) . At its close the motiv

is twice repeated adagio; there follow the words of the Evangelist: " And he bowed his head and departed." Thereupon, at this most ago- nized moment, the voices of the Bass solo and the chorus are raised simultaneously, the one in doubt and questioning, the other in a chorale of quiet conviction. " In the recitatives," in the opinion of Schweitzer, " Bach has pre-

served in the most admirable way the special tint of the narrative as it

is in St. John. His setting of the words of Jesus reproduces the super- terrestrial, almost abstract elevation that characterises the Christ of the

fourth Gospel from the beginning. The Jesus of St. Matthew is much more human." And Terry: " Bach's Recitative speaks a language spon- taneous and natural, unfolding the narrative with the inflexions of a (TW^

/gf% Wine and T>ine in the Continental ^Manner liwM at Boston s First Authentic French Restaurant Luncbton $1.00 Tablt d'Hott Dinner $1.75

RESTAURANT Lafayette

333 COMMONWEALTH AVENUE

(L • (LWk^J)

Guard Against Theft ~ — and Damage to Your Auto One minute from Symphony Hall STORE AT WESTLAND AVENUE GARAGE Inc. 41 WESTLAND AVENUE

[1038] Said Kybari the Ancient

to Kybari

the Younger

"Thou art young, my son. And I am old. Go thou now to the tents of thy tribe and into the hills to the tents of the mountain people, even as I have done. And gather their rugs, the good and the poor; the new and those that were woven when I was like unto thee.

"And bring them back to the market here and await the buyers from far away over the blue waters who will come and bargain with thee.

"But the best of thy rugs, separate them and keep them apart, for none other will the men from Pray's consider. And they will buy many rugs from thee, as from thy father and my father and my fathers father.

"But do not try to exact the high price on these rugs, for Pray men are shrewd buyers and wise in the ways of the Orient. Make thou the price low and the words shall be scarce cold on thy lips when thou shall feel the cash in thy hands.

So will it pay thee to make the price low. Go!"

646 Washington Sii, Opposite.

10 [ 39 ] good reader, restrained but conscious of its dramatic force and poign-

ancy. Throughout the St. John Passion it is impersonal except in the passages which describe Peter's weeping and the scourging of Jesus. Elsewhere the Evangelist recites the story impassively at a mean pitch somewhat lower than in the St. Matthew Passion. The words of Christ are not, as there, marked by a distinguishing accompaniment. But his Recitative is of a dignified serenity which lifts his personality above the other characters." "The Chorales," according to Spitta, "are such as Bach could write at the height of his powers. By a marvelous pliancy in the treatment of the parts, and an inexhaustible wealth of harmonic resource, he was able to distribute over the whole a fresh and varied vitality with a subtle and significant illustration of details. " As regards the solo songs," (Spitta) " they probably all (with the exception of the aria ' Ach windet euch nicht so ' and that which sub-

sequently took its place, ' Come, ponder, O my soul ') are among the best that Bach ever wrote. How they can ever have been supposed to betray

the manner of an earlier period it is hard to discover, for they almost all depart more or less, by their grand, free, and novel form, from the traditional type of aria. — The highly artistic, and, indeed, over-refined

Gvirs l I j inc. OF NEW YORK AND PHILADELPHIA AT 141 NEWBURY ST., BOSTON HAND KNITTED SUITS CUSTOM TAILORED SUITS SILK DRESSES HATS, BAGS AND SCARFS TO MATCH

CORSETS and FOUNDATION GARMENTS both CUSTOM-MADE and READY-TO-WEAR scientifically fitted, giv- ing correct posture as well as conforming with present fashion requirements. Hostess gowns, negligees and underthings MYRA CHAPIN 308 BOYLSTON STREET Telephone Kenmore 7241

[ IO4O ] THE NEW STEIN WAY ACCELERATED ACTION

Chosen by KATHARINE BAXTER

for her recital in JORDAN HALL

Tuesday Evening, April 23

While supreme in the Concert-hall, the Steinway is also the ideal piano for the home . . . with its glorious tone adapted to the dimensions of even the smallest room . . . Miss Baxter and her teacher, Mary Boxall Boyd use the Steinway exclusively, in concerts and in the studio.

If you have not yet heard or played the new Steinway with Accelerated Action, let us urge you to do so at once. We have a wide selection of Steinway s

— with its glorious tone adapted to the dimensions of even the smallest room. M. STEINERT & SONS A NEW ENGLAND INSTITUTION SINCE i860 162 BOYLSTON STREET, BOSTON

1 [ 104 ] setting which characterizes most of these pieces no doubt prevents their having that simple charm and popular effect which is the specialty of almost all the solos in the St. Matthew Passion. The impression they leave is profound and grave, and their prevalent feeling is gloomy."

J. N. B.

A PASSION PERFORMANCE AT LEIPZIG

The importance of a Holy day in the lives of the Leipzigers in Bach's pious epoch is indicated in the records kept by Johann Christoph Rost, Custodian of St. Thomas's at that time. At 1.15 on Good Friday afternoon the church bells summoned the congregation. The actual service opened at 1.45 with a hymn. The first part of the Passion was followed by a hymn, a pulpit hymn, and the sermon. Then the second part of the Passion, a Motet, the Passion Collect, another hymn, and the final blessing. Mr. Terry, an indefatigable reconstructor of Bach's period and sur- rounding circumstances from all possible data, gives us a word picture of a performance of one of Bach's Passions at the Thomaskirche. " The performers were placed in the organ gallery at the west end of the

STATE STREET • MASSACHUSETTS AVENUE • COPLEY SQUARE The State Street Trust Qompany

affords its depositors the advantage of three banking offices in excellent locations, each equipped with modern safe deposit vaults

Main Office: Corner State and Congress Streets Copley Square Office: 581 Boylston Street Massachusetts Ave. Office Corner Massachusetts Avenue and Boylston Street Boston, Mass. SAVINGS DEPARTMENT

Member Federal Reserve System

[ 1042 ] *R SHOES law R. H.WHITE CO. US WASHINGTON STREET AT BEDFORD- BOSTON ffi P H there's no excuse to be K 2

^V^tu)ia(i^L SIW^

Fashioned on Dr. Sawyer's

P L U S - F I T lasts

NATURALIZERS are high- style NATURALIZERS are very light

NATURALIZERS in lasts for all

NATURALIZERS famous for fit

You'll never believe, until you wear them, that such glorious comfort could be possible in such

high-style shoes. "NATURALIZERS" fill the need of feet with dropped arches, ball-of-foot weakness, wobbly heels, and perfect feet.

Sizes up to 10 Widths AAAA to EE IN 18 STYLES

At WHITE'S ex-

clusively in Boston

SHOES— STREET FLOORm

[ 1043 ] - . , , v xvx a,V) ,\v\ .vv> ,\v> >v\ ,\vx vy, vv\ \v\ . vv\ ,\v\ .vv fff- f/fm £4£m f/fm ff{» t££m l££m f/fm t

SYMPHONY HALL • BOSTON BACH-HANDEL FESTIVAL

BY THE

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor

Assisted by the Harvard Glee Club, the Radgliffe Choral Society and the Bach Cantata Club

Friday Aft. and Saturday Eve., April 26-27 ORCHESTRAL PROGRAMME

Handel Concerto Grosso for String Orchestra,

Op. 6, No. 6, in G minor

Handel ...... Concerto for Two Wind Choirs and String Orchestra

Bach . Brandenburg Concerto No. 5 for Or- chestra with Harpsichord, Violin and Flute Harpsichord, Putnam Aldrich Violin, Richard Burgin Flute, Georges Laurent

Bach Passacaglia and Fugue for Organ in C minor (transcribed for orchestra by Ottorino Respighi)

ssi *?j ??j V/V ??i "sfs ~??j V/Vv//v/? v// ??/ v>vvx\ \s>. ss,\ v>v* \s\ sssr vssr vsv* v*v vvv vvv Vvv xv«r [1044] SYMPHONY HALL . BOSTON CHORUS AND ORCHESTRA Tuesday Evening, April 30 HANDEL'S "SOLOMON" (Oratorio) HARVARD AND RADCLIFFE CHORUSES soloists Margaret Matzenauer Charles Hagkett Olga Averino Keith Falkner Julius Huehn

Wednesday Evening, May 1 MISCELLANEOUS PROGRAMME Bach Prelude and Fugue in G major for Organ Carl Weinrich

Handel Sonata for Violoncello (with Harpsi- chord) Jean Bedetti

Bach Italian Concerto, for Harpsichord Ralph Kirkpatrigk

Handel Sonata for Two Violins (with Harpsi- chord) Richard Burgin and Julius Theodorowigz

Bach Toccata, Adagio, and Fugue in C major for Organ Carl Weinrich

CHORUS AND ORCHESTRA Sunday Afternoon and Evening, May 5 BACH'S MASS IN B MINOR (PENSION FUND CONCERT) HARVARD AND RADCLIFFE CHORUSES soloists Margaret Matzenauer Charles Hagkett Olga Averino Keith Falkner tickets for all performances now on sale at the box office

[ !Q45 ] nave. . . . (Rost particularly notes that in 1736 both organs were used for the Passion performance.) The gallery also contained a

Clavier; among the parts of the St. Matthew Passion is a ' Continuo pro

Cembalo ' for Coro II, written throughout and figured in Bach's hand. Grouped right and left were the singers and instrumentalists: the

St. Matthew Passion made larger demands than others upon Bach's re- sources. A recent writer * supposes the Evangelist to have sung from the lectern between the nave and the chancel, an untenable suggestion. Bach's singers and a small orchestra of strings, flutes, oboes, and fagotti were massed under his close observation in the gallery. The organ was played by St. Thomas's organist; if both were used, probably St. Nicho- las's organist officiated at the smaller. Bach's place was at the Cembalo, where he could keep the performance together, beating time when necessary.f From the gallery the performers looked down upon the congregation in the nave facing eastward, women in the centre, men on either hand. In the aisles of the nave, north and south, the galleries faced inwards. A low screen divided the chancel from the nave, in the middle of which rose the lectern, from which the Collect and Epistle

* Wilhelm Werker, " Die Matthaus-Passion " (1923). t A woodcut dated 1710 shows Kuhnau in the front of the gallery beating time with a s'croll in his right hand. It is worth pointing out that Bach endeavored to shift the Passion performance from St. Nicholas's to St. Thomas's in 1724, partly on the ground that the Clavier in the former church was out of order (Leipzig Council " Acta," 3 April 1724).

FLAMINGO ROOM at LEVAGGI'S Massachusetts Avenue at Norway Street

SPECIAL ONE DOLLAR DINNER

SERVED EVERY EVENING (Excepting Saturdays and Holidays) FREE PARK- Hod Williams Orchestra ING Dancing till 2 a.m.

Com. Try this famous One Dollar Dinner and be oonvinoed 2300 that it is the best meal in America for the money

The GRILL at LEVAGGI'S — LUNCH 50c DINNER 75c LANGUAGES FRENCH— GERMAN — ITALIAN— SPANISH — RUSSIAN A Fuller Appreciation of Music —A Practical Travel Vocabulary Private or Small Group Instruction FREE TRIAL LESSON An International School fgrWj TH © a Tel. COM. 1814 Ilerlitz 140 NEWBURY ST. [io46] _^^ were intoned on other occasions. The pulpit stood against a pillar on the south side of the nave."

Let us examine the material from which Bach had to recruit this performance. The choral forces at his disposal must have lacked stamina, for the school consisted largely of charity pupils, more pros- perous burghers sending their children elsewhere. The choir was obliged to sing in the streets for alms, exposed to all weathers, which could hardly have helped their voices. The alumni totalled fifty-five, from which choirs had to be recruited for four churches. Needless to say, Bach took the best for St. Thomas's and St. Nicholas's, the services which he directly supervised. But even so, he had to content himself with twelve singers to a choir — three voices to a part. For the ornate solos, Bach was allowed no outside assistance. He had to train his own singers in new and difficult parts each wr eek. For his orchestra, he was somewhat more fortunate as to number, but by no means as to quality. The council allowed him eight town musicians, tradesmen who had picked up some instrument in leisure hours: "musical mechanics"

Schweitzer calls them, and it would be hard to dispute him.* These he

* Bach spoke thus of this allotment in a letter to the Town Council in 1730: " The ' Numerus ' of persons appointed for the church music consists of eight; as four town pipers, three skilled violinists, and one apprentice. Discretion deters me from revealing any- thing near the truth as to their quality and musical knowledge; however, it is a matter to be

A. de Luze & Fils Bordeaux Wines

For generations the Clarets and Sauternes of Messrs. de Luze of Bordeaux have been a byword

of excellence : The finest Chateau-

bottled wines of the great classi-

fied growths, as well as carefully selected regional wines.

$1.25 to $5.65 a bottle

S. S. Pierce Co. /i%' '

Purveyors of Fine Foods and Fine Wines for over a century tatf Our Wine Catalogue on request.

Wine Consulting Dept. at our Tremont Street Store. Wm

[ 1047 ] supplemented with his own scholars, making an orchestra of usually eighteen or twenty-two each of first violins, second violins, violas and cellos, one bass, two or three oboes, one or two bassoons, flutes, and trumpets.

J. N. B.

BACH'S PASSION ACCORDING TO ST. JOHN The Verse Numbers Translated by Dr. T. A. Lacey Edited by Ivor Atkins

PART ONE CHORUS Lord and Master, in all lands the gath'ring nations hail Thee. Show by Thy Cross and Passion, Thou art the true eternal Son, whom still we know, when in Thy man- hood thus brought low. RECITATIVE Evangelist: Jesus went with his disciples over the brook Cedron, where was a garden, into which he entered, and his disciples. And Judas, which betrayed him, knew the place also: for Jesus oft times resorted thither with his disciples. Judas then, having considered that they are partly past their work and partly not in such ' exercitio ' as they rightly should be."

SPRING & SUMMER VACATIONS FREE DETAILED TRAVEL INFORMATION AND SERVICE FOR ANY EUROPEAN OR DOMESTIC TRIP YOU ARE PLANNING AGENTS FOR ALL STEAMSHIP LINES

PEABODY & LANE Inc. 110 State St. Boston Hubbard 0960

PAPER for PROGRAMMES made at our mill in Boston

Ctf-9«ufuongd Quahrj

Since 1801 Tileston c$ ***** NEWBUR/ SV*&* Hollingsworth Co. 213 CONGRESS STREET BOSTON

[ 1048 ] .

received a band of men and officers from the chief priests and Pharisees, cometh thither with lanterns and torches and weapons. Therefore Jesus, knowing all things that should come upon him, went forth, and said unto them, Jesus: Whom seek ye? Evangelist: They answered, CHORUS Jesus of Nazareth! RECITATIVE Evangelist: Jesus saith unto them,

Jesus: I am he. Evangelist: Judas also, which betrayed him, was standing with them. As soon then as he had said unto them, " I am he," they went backward, and fell to the ground. Then asked he them again, Jesus: Whom seek ye? Evangelist: And they said, CHORUS Jesus of Nazareth! RECITATIVE Evangelist: Jesus answered,

Jesus: I told you that I am he: if therefore ye seek me, let these go their way. CHORALE mighty love, O love beyond all measure, That bids Thee walk this way of sore displeasure, 1 live my life, with all the world can offer, And Thou must suffer! THOMASfWHITTSfEY SURETTE announces the Twenty-First Year oj his SUMMER SCHOOL OF MUSIC

CONCORD, MASSACHUSETTS • JUNE 24 -JULY 19 inclusive, 1935 A School for Teachers of Music, for Students and for others, who wish to increase their understanding of Music Free classes in School Music Technique and in Musicianship (Applied Harmony, Modulation, Transposition, etc.) Classes in Harmony, Counterpoint, Piano Interpretation, School Orchestra Technique, and Choral Conducting. Private Lessons: Piano, Violin, 'Cello, and Singing. Chorus of 135 voices; orchestra of 35 CIRCULAR ON APPLICATION MASON S HAMLIN PIANO USED

^r*^#^#^#^#^#^#^#^#*^#^**^#<#^#^#N#^#^#sr*^#Nr*^#^#^#^#^#^#**s GENUINE Scotch Tweeds FOR YOUR NEW SPRING COAT OR SUIT

Our Stock of Scotch Tweeds, considered the largest in Town, contains over 400 different pieces in the finest of qualities.

SWEATERS TWIN-SETS • SCARFS • KNIT SUITS • GARMENTS Romanes & Paterson [Edinburgh, Scotland'}

581 BOYLSTON STREET. BOSTON • • • • IN COPLEY SQUARE

[ 1049 ] RECITATIVE Evangelist: That the saying might be fulfilled, which he spake, of them which thou gavest me have I lost none. Then Simon Peter having a sword, drew it out, and smote the high priest's servant, and cut off his right ear. The servant's name was Malchus. Then said Jesus unto Peter,

Jesus: Put up thy sword into the scabbard: shall I not drink the cup which my Father hath given me? CHORALE Thy will, O God, be always done on earth as in the courts of Heaven, Give us in pain to lean thereon, to welcome joy or sorrow giv'n, To bid rebellious flesh be still, Nor move against Thy perfect will. RECITATIVE Evangelist: Then the band and the chief captain, and the officers of the Jews, took Jesus, and bound him, and led him away to Annas first; for he was father-in-law to Caiaphas which was the high priest that same year. Now Caiaphas was he which gave counsel to the Jews, that it was expedient that one man should die for the people. ARIA

Contralto Solo: Chains of bondage that I wrought me, he who has brought me in my stead is wearing, He, from rankling sores that scourge me, thoroughly to purge me, wounds and death is bearing. recitative Evangelist: And Simon Peter followed Jesus, and so did another disciple. aria Soprano Solo:

I follow in gladness to meet Thee,

PENNELL GIBBS & QUIRING CO. 203-5 CLARENDON ST INTERIOR DECORATORS

BOSTON UNIVERSITY Privately Printed 'Books

COLLEGE OF MUSIC W*e specialize in autobiographies, biogra- phies, genealogies, industrial histories, records of travel, reminiscences and memoirs — Degree, certificate and diploma courses. any editing and fine printing that requires New Department of church and com- taste, judgment, culture and editorial abil- munity music, Professor H. Augustine ity. We can write as well as edit, design and Smith, Director. print. Among our clients are some of the most edited, de- Recent additions to the faculty: Mr. representative people. We have Roger H. Sessions, composition, and signed and printed all of the historic mono- Mr. James R. Houghton, voice. graphs of the State Street Trust Company Walton Advertising & For further information, address the Printing Company Registrar, 178 Newbury Street, Boston 88 Broad Street Boston* Massachusetts

[1050] And hold Thee in sight, my life and my light, Then order my way, and spare not, T pray, Thyself to pursue me, to urge and entreat me. RECITATIVE Evangelist: Now that disciple was known unto the high priest, and entered in with Jesus into the palace of the high priest. But Peter stood at the door without. Then that other disciple, which was known unto the high priest, went out and spake unto her that kept the door, and brought Peter in. Then saith the damsel that kept the door unto Peter, Maid: Art not thou also one of this man's disciples? Evangelist: He saith,

Peter: I am not.

Evangelist: And the servants and officers stood there, who had made a fire of coals, (for it was cold) and they warmed themselves: and Peter stood with them, and warmed himself. The high priest then asked Jesus of his disciples, and of his doctrine. Jesus answered him,

Jesus: I have spoken openly to the world; I ever taught in the synagogues, and in the Temple, whither the Jews always resort; and in secret spake I nothing. Why askest thou me? Ask them that have heard me what I have said unto them: behold, they know what I said. Evangelist: And when he had thus spoken, one of the officers which stood by, struck Jesus with the palm of his hand, saying, Officer: Answerest thou the high priest so? Evangelist: Jesus answered him,

Jesus: If I have spoken evil, bear witness of the evil: but if well, why smitest thou me? CHORALE Ah! whence this hatred shown Thee? Whose hands are laid upon Thee, To do Thee this despite?

The Public is Cordially invited to use two CHRISTIAN SCIENCE READING ROOMS Free to the Public

Statler Office Building, Park Square THE FIRST CHURCH 60 Norway Street, Cor. Massachusetts Ave. OF CHRIST, SCIENTIST Authorized and approved literature on Christian IN BOSTON Science may be read, borrowed or purchased MASSACHUSETTS

E. C. SCHIRMER MUSIC CO. 221 COLUMBUS AVENUE, BOSTON, MASS. Telephone Kenmore 1772 Publishers of Depot for PETERS EDITION THE CONCORD SERIES AUGENER'S EDITION THE COMMONWEALTH SERIES SCHIRMER LIBRARY OF MUSICAL CLASSICS HARVARD UNIVERSITY GLEE CLUB CURWEN. GRAY & NOVELLO PUBLICATIONS COLLECTION OF PART SONGS Sole Agents for FOR MEN'S VOICES COMPOSITIONS OF PAUL JUON RADCLIFFE HONEGGER "KING DAVXD" CHORAL MUSIC AND VASSAR THE COWLEY CAROL BOOKS CHORAL MUSIC FOR WOMEN'S VOICES np iTinQ An cvufPTTnvrT.T, ST. DUNSTAN EDITION OF SACRED MUSIC EN^FfLE^^^^^^^

[1051] Thee, who beyond our telling in man's estate excelling Hast ordered all Thy ways aright. 'Tis I have done this wounding, by heedless sins abounding, As sands beside the sea; These are the blows that bruise Thee, in these Thine own refuse Thee, And these will nail Thee to the tree. RECITATIVE Evangelist: Now Annas had sent him bound unto Caiaphas the high priest. And Simon Peter stood and warmed himself: They said therefore unto him, CHORUS Art thou not one of his disciples? RECITATIVE Evangelist: He denied it, and said

Peter: I am not. Evangelist: One of the servants of the high priest, being a kinsman of him whose ear Peter cut off, saith,

Servant: Did not I see thee in the garden with him?

Evangelist: Peter then denied again, and immediately the cock crew. And Peter re- membered the words of Jesus, and he went out, and wept bitterly. aria Tenor Solo: Ahl my soul, what end awaiteth thee? Who then will stand beside me?

Good Teamwork

A Statistical Department equipped

with facts and information, working

with a Trust Committee equipped with common sense and experience.

The Union Trust Company of Boston CHARLES FRANCIS ADAMS, PRESIDENT

24 Federal Street\ Boston^ Mass.

[ 1052 ] Shall I stay, shall I wait to see rock and mountain fall to hide me? Nought on earth can help afford; heart is failing, shame prevailing; Mine the deed abhorred, Yea, the servant hath denied his Lord. CHORALE Peter in forgetfulness thrice denied his Master; One look moved him to confess, weeping, his disaster. Jesu, turn to look on me, who persist in sinning; Set my fettered conscience free, free for new beginning.

PART II CHORALE

He, whose life was as the light, grace and truth unshaken, In the darkness of the night like a thief was taken; Judgment of a godless court, witness falsely offered Scorn and spitting, ribald sport, as foretold, He suffered. RECITATIVE

Evangelist: Then led they Jesus from Caiaphas into the Judgment hall: and it was early; and they themselves entered not into the Judgment hall, lest they should be de- filed, but that they might eat the Passover. Pilate then Avent out unto them, and said, Pilate: What accusation bring ye against this man? Evangelist: They answered and said unto him, CHORUS

If this man were not a malefactor, we had not delivered him.

elegance it? clothe?

• — a_ ^ i i *i rt> TTTfc iliWiM

350 ^oylfbn £Wr -near flrk«gtevf

THE DROPT STITCH IMPORTED AND DOMESTIC YARNS

Special designing — in all types of hand-knit-outfits. ISABEL ORR 38 NEWBURY STREET

[ 1053 ] RECITATIVE Evangelist: Then said Pilate unto them, Pilate: Take ye him, and judge him according to your law. Evangelist: The Jews therefore said unto him, CHORUS

It is not lawful for us to put any man to death. recitative Evangelist: That the saying of Jesus might be fulfilled, which he spake, signifying what death he should die. Then Pilate entered again into the Judgment hall, and called Jesus, and said unto him, Pilate: Art thou the King of the Jews? Evangelist: Jesus answered,

Jesus: Sayest thou this of thyself, or did others tell it thee of me? Evangelist: Pilate answered,

Pilate: Am I a Jew? Thine own nation, and the chief priests have delivered thee unto me. What hast thou done? Evangelist: Jesus answered,

Jesus: My kingdom is not of this world: if my kingdom were of this world, then would my servants fight, that I should not be delivered to the Jews: but now is my kingdom not from hence. CHORALE O King of glory, King for time unending, How can I serve Thee, what for Thee be spending, No heart may find wherewith due thanks to render, Or service tender.

How can I, straining sight and expectation, Find aught wherewith to measure thy compassion, Or how requite Thee, working thus in blindness, Thy loving kindness? HOTEL MINERVA 214 HUNTINGTON AVE. Rates: Single $2.00 and $2.50 One blook from Symphony Hall Double $2.50 and $3.00

REFINED • FRIENDLY • HOSPITABLE Dine at the CAFE MINERVA DELICIOUS DINNERS AT 75C AND $1.00; LUNCHEON 50C SERVED DAILY Dancing from 6 P.M. to 1 A.M. Choice Wines and Liquors Cajeteria Service also Available HARRY C. DEMETER, Mgr. Phone, Kenmore 6380 OroftAle

*y(j) 7

[ ^54 ] PASTENE

OS. d/asiene & (So. cJnc.

cJresenis dealer: f inrougn your

Huteon'g Jfop Company

(Dxcfuisiie c^tcfuors

Csuest cJrocuraoie G/coicn "ff.e.S: Jcotci

(Jamaica cJxum = Ql = 114 = 151 cJroofs

'cdJemerara CsKum = Ql = 21^ =* 25;/ cJroojs

Connoisseurs ot tine liquors will iind

their desires tulrilled in these brands.

Hudson s Bay Company licfuors are

backed by hundreds 01 years 01 ex-

perience, and the world renowned refu-

tation 01 the Hudson's Bay Company.

6Q cJulion cJlreel

dyjoston

10 [ 55 ] RECITATIVE Evangelist: Pilate therefore said unto him, Pilate: Art thou a King then? Evangelist: Jesus answered,

Jesus: Thou sayest that I am a king. To this end was I born, and for this cause came

I into the world, that I should bear witness unto the truth. Everyone that is of the truth heareth my voice. Evangelist: Pilate saith unto him,

Pilate: What is truth?

Evangelist: And when he had said this, he went out again unto the Jews, and saith unto them,

Pilate: I find in him no fault at all. But ye have a custom, that I should release unto you one at the Passover; will ye therefore that I release unto you the King of the Jews?

Evangelist: Then cried they all again, saying, CHORUS Not this man, but Barabbas. RECITATIVE Evangelist: Now Barabbas was a robber. Then Pilate therefore took Jesus, and scourged him. ARIOSO (With two viole d'amore) Bass Solo: Come, ponder, O my soul, thy burdened heart unbinding, with trembling hope and anxious rapture finding thy chiefest good in Jesu's sorrow. Those thorns

THE CARRY-ON SHOP

65 CHARLES STREET BOSTON

CAPITOL 7219

BLOUSES DRESSES COATS f 4 f EDWARD K. PERRY CO. f exterior and interior painting t f 655 BEACON STREET • BOSTON MASS. f {At Kenmore Station) Tel. Ken. 7122 f EDWARD K. PERRY LEWIS F. PERRY f 1 [1056] that crown Him, though He sudor, to thee the (lowers of heaven will seem, to thee the sweetest fruit will his sharp wormwood offer: Then gaze, for ever gaze on him. ARIA (Willi two viole d'amore) Tenor Solo: Behold him! See his back all torn and bleeding, for pardon pleading, Is like the face of Heaven. Whereon, against the dark oppression of clouds that figure man's transgression, Is set the bow by God's concession, the sign and pledge of sin forgiven. RECITATIVE

Evangelist: And the soldiers plaited a crown of thorns, and put it on his head, and they put on him a purple robe, and said, CHORUS Hail, thou King, thou King of the Jews. RECITATIVE Evangelist: And they smote him with their hands. Pilate therefore went forth again, and saith unto them,

i The Ludlow PURITAN Corner Clarendon St. and St. James Ave. 390 COMMONWEALTH AVENUE A RESIDENTIAL HOTEL 'People like You COPLEY SQUARE like the '•Puritan OFFERS to its selective clien- An old Boston institution, tele, centrally located, comfort- like " the Symphony." Espe- able and homelike apartments, cially suitable For receptions, a renowned cuisine and effi- teas, debutante parties. Our cient service. Most conserva- Old Boston Room has Ruby tive rates. Newman music, good food, Mrs. M. N. Loomis, Mgr. a distinguished wine cellar. // you contemplate a change why not Gay .... but still discreet. try the Ludlow. Parking space and guest entrance in rear of hotel Tel. Kenmore 6560 crxxxzxx:

IParetiJl^isferX

286 Boylston Street

Antique jewelry, reproductions, and

resetting

OPEN EVENINGS Cable Address: SUNDAYS AND HOLIDAYS "SYMFLO" 240 Huntington Ave. Phone Kenmore 2076

[ io57 ] Pilate: Behold, I bring him forth to you, that ye may know that I find no fault in him. Evangelist: Then came Jesus forth, wearing the crown of thorns, and the purple robe; and Pilate saith unto them, Pilate: Behold, the man.

Evangelist: When therefore the chief Priests and officers saw him, they cried out, CHORUS Crucify him! recitative Evangelist: Pilate saith unto them,

Pilate: Take ye him, and crucify him: for I find no fault in him. Evangelist: The Jews answered him, CHORUS We have a law, and by our law he ought to die, for he made himself the Son of God recitative Evangelist: When Pilate therefore heard that saying, he was the more afraid, and went again into the Judgment hall, and saith unto Jesus, Pilate: Whence art thou? Evangelist: But Jesus gave him no answer. Then saith Pilate unto him,

Pilate: Speakest thou not unto me? Knowest thou not that I have power to crucify thee, and have power to release thee? Evangelist: Jesus answered,

Jesus: Thou couldest have no power at all against me, except it were given thee from above; therefore he that delivered me unto thee hath the greater sin. Evangelist: And from thenceforth Pilate sought to release him. CHORALE

O Christ, Thy fetters mean release for souls that lie in durance Thy dungeon is our house of peace, for refuge and assurance. Hadst Thou not served as thrall before, thralls were we now and evermore. RECITATIVE Evangelist: But the Jews cried out, HELENA RUBINSTEIN presents her Youthifying Herbal Masque Accept dazzling loveliness for your new season role — from the foremost authority on beauty! Adapted from one of Helena Rubin- stein's world-famous Salon treatments, Youthifying Herbal Masque is the praise of Paris. Visit the Salon — hear about the wonders of this unique preparation composed of twenty-three rare, vitalizing herbs. It instills new radiance in tired, drab skin. ... It lifts droopy contours to clear-cut outlines. A remarkably quick beauty treatment! Indispensable for beauty on short notice! Use it before last minute engagements, and reg- ularly about twice a week, too. 2.00 and 5.00 jars. Visit the Salon to see the latest Parisian make-up accents, too. Learn how to guard against winter's dangers— dry, lined skin. Consultation without obligation. helena rubinstein salon London 77 Newbury Street, Boston (Ken. 5270) Paris

[1058] CHORUS

If thou let this man go, thou art not Caesar's friend: whosoever maketh himself a king, speaketh against Caesar. RECITATIVE Evangelist: When Pilate therefore heard that saying, he brought Jesus forth, and sat down in the judgment seat, in a place that is called the Pavement, but in the Hebrew, Gabbatha. And it was the preparation of the Passover, and about the sixth hour: and he saith unto the Jews, Pilate: Behold your King. Evangelist: But they cried, chorus Away with him, crucify him!

• recitative Evangelist: Pilate saith unto them,

Pilate: Shall I crucify your King? Evangelist: The chief Priests answered and said, CHORUS We have no king but Caesar. recitative

Evangelist: Then delivered he him unto them to be crucified: and they took Jesus, and led him away. And he bare his cross, and wr ent forth into a place called the place of a skull, which is called in the Hebrew, Golgotha. ARIA Bass Solo: Haste, haste, poor souls ensnared in treason, get you from your noisome prison. CHORUS Oh where?

Bass Solo: To Golgotha. Wings of faith for all are given, Fly! CHORUS Oh where?

Bass Solo: Fly, yon Cross your haven; all your hopes are flowering there. EUROPEAN TRAVEL STEAMSHIP PASSAGE AND ITINERARIES ARRANGED 28 YEARS' EXPERIENCE MAKING TOURS TO ORDER INTIMATE KNOWLEDGE OF FOREIGN TRAVEL DETAILS LOWEST AUTHORIZED RATES Booklet — " Travel that REEVESend for BCHIPMANPays" 462 BOYLSTON STREET (near Berkeley) BOSTON Telephone KENMORE 1753

CAFE AMALFI and VENETIAN ROOM 8 WESTLAND AVE. Just around corner from Symphony Hall LUNCHEONS 50 CENTS — DINNERS A LA CARTE Excellent wines, liquors, food and service Tel. Keumore 6396 or Circle 6480

[ 1059 ] RECITATIVE Evangelist: And there they crucified him, and two other with him, on either side one, and Jesus in the midst. And Pilate wrote a title, and put it on the cross. And there was written: JESUS OF NAZARETH, THE KING OF THE JEWS. This title then read many of the Jews: for the place was nigh to the city where Jesus was crucified: and it was written in Hebrew and Greek, and in Latin. Then said the chief Priests of the Jews to Pilate, CHORUS

Write thou not, the king of the Jews, but that he himself said, I am the King of the Jews. RECITATIVE Evangelist: But Pilate answered,

Pilate: What I have written, I have written. CHORALE

Thy name is shining on me, Lord Jesu, day and night, Thy Cross alone hath won me, my inmost heart's delight; For now, by faith depicted, the saving truth I see, How Thou, O most afflicted, hast shed thy blood for me. RECITATIVE Evangelist: The soldiers therefore, when they had crucified Jesus, took his garments (and made four parts, to every soldier a part) and also his coat: Now the coat was without seam, woven from the top throughout. They said therefore one to another, CHORUS

Let us not divide it, but cast lots for it, who shall have it. RECITATIVE Evangelist: That the Scripture might be fulfilled, which saith, They parted my raiment among them, and for my vesture they did cast lots. These things therefore the soldiers did. Now there stood by the cross of Jesus, his mother, and his mother's sister, Mary the wife of Cleophas, and Mary Magdalene. When Jesus therefore saw his mother, and the disciple standing by, whom he loved, he saith unto his mother, Jesus: Woman, behold thy son. Evangelist: Then saith he to the disciple,

Jesus: Behold thy mother! UPTOWNPARK YOUR CARGARAGEAT THE WHILE YOU ENJOY THE SYMPHONY 10 GAINSBORO STREET 24-HOUR Tel. Kenmore 6730 REPAIR SERVICE LOOK FOR OUR UNIFORMED DRIVERS WHO WILL DRIVE YOUR CAR FROM SYMPHONY HALL TO GARAGE. NO EXTRA CHARGE

KARL PATTEN, INC. MILLINER 143 NEWBURY STREET

lc, 6o [ ] CHORALE See him now, the righteous one, his last hour abiding, For his Mother, faithful son, faithful care providing. Work, O man, for righteousness, God and man befriending; Death shall come without distress, all disquiet ending. RECITATIVE

Evangelist: And from that hour that disciple took her unto his own home. After this, Jesus knowing that all things were now accomplished, that the Scripture might be fulfilled, saith,

Jesus: I thirst.

Evangelist: Now there was set a vessel, full of vinegar: and they filled a sponge with vinegar, and put it upon hyssop, and put it to his mouth. When Jesus therefore had received the vinegar, he said,

Jesus: It is finished. ARIA (With viola da gamba)

Contralto Solo: All is fulfilled, O hope to fainting souls extended! This mournful night shows me thy day of labour ended. The Lion of Judah fought the fight, and hath prevailed. It is finished.

The MUSICAL GUILD presents at STELNTERT HALL THURSDAY EVENING, APRIL 25

Mildred Ericson, -pianist George White, tenor Eleanor Neil Washburn, soprano Carl Lamson, accompanist

Tickets $1.00, $.75 may be procured from Miss Mabel Adams Bennett, 14 Marion Street, Brookline Tel. Asp. 0746, or at Steinert Hall

[1061] RECITATIVE Evangelist: And he bowed his head, and gave up the ghost. AIR CHORALE Bass Solo: My Lord and Saviour, let Jesu, Thou by toilsome death, me ask Thee, Exalted in thy cruci- Deathless life art earning,

fixion, Thou hast avowed: It is ful- I, in stress of failing breath, filled. O say, shall Death his captives Where shall I be turning, yield, Can I, then, through thy last But to Thee, my Ransomer? affliction the realm of life inherit? Dost Dear my Lord, receive me, Thou the whole world's ransom pay? Give but what Thy wages were,

How can thy parched lips declare it! More Thou could 'st not give me. But low thy head bowed down replies in silence: Yea, Yea, RECITATIVE Evangelist: And behold, the veil of the Temple was rent in twain, from the top to the bottom: and the earth did quake; and the rocks were rent. And the graves were opened, and many bodies of saints arose. ARIOSO Tenor Solo: My heart, behold the world intent a share in Jesu's pain to borrow: The sun in sable shroud of sorrow, the severed veil, the mountains rent, the quaking earth, the dead returning, their Maker cold in death are mourning. Wilt thou, my heart, do now thy part? ARIA Soprano Solo: O heart, melt in weeping, and pour out thy dolour, the Highest to honour. Tell truly to earth and to heaven thy pain, Thy Jesus is slain. RECITATIVE

Evangelist: The Jews therefore, because it was the preparation, that the bodies should not remain on the Cross upon the Sabbath day (for that Sabbath day was an high day) besought Pilate that their legs might be broken, and that they might be taken away. Then came the soldiers, and brake the legs of the first, and of the other,

FOR SUPERLATIVE ICE CREAM, SODAS AND CANDIES IN DELIGHTFUL SURROUNDINGS

You are invited to visit

NEWEST STORE UPTOWN THEATRE BUILDING or the nearly new store, Corner Massachusetts Avenue and Boylston Street — or one of our suburban stores in Newton, Brookline, Cambridge, Belmont, Allston, West Roxbury and Waltham. For Home Deliveries Telephone CENtre Newton 3880

Distinctive Catering \\ 7EDDINGS, receptions, dinners, teas and debuts gain distinction and con- vey greater pleasure when the catering is perfect in taste and delicious in quality. Our clients include Boston's well-known families. Address for further particulars: MILTON HILL HOUSE MILTON, MASS. Telephone Bluehilh 9765

[ 1062 ] which was crucified with him. But when they came to Jesus, and saw that he was dead already, they brake not his legs. But one of the soldiers pierced his side with a

spear, and forthwith came there out blood and water. And he that saw it, bare record, and his record is true, and he knoweth that he saith true, that ye might believe. For these things were done, that the Scripture should be fulfilled. A bone of him shall not be broken. And again another Scripture saith, They shall look on him whom they pierced. CHORALE Help us, O thou son of God, by Thy bitter passion, Still to tread where Thou hast trod, armed against temptation; From the tree of scorn to seek fruits of mediation, Whence to bring, though poor and weak, store of rich oblation. RECITATIVE Evangelist: And after this, Joseph of Arimathaea, being a disciple of Jesus, but secretly for fear of the Jews, besought Pilate that he might take away the body of Jesus, and Pilate gave him leave: he came therefore, and took the body of Jesus. And there came also Nicodemus, he who at the first came to Jesus by night, and brought a mixture of myrrh and aloes, about an hundred pound weight. Then took they the body of Jesus, and wound it in linen clothes with the spices, as the manner of the Jews is to bury. Now in the place where he was crucified there was a garden, and in the garden a new tomb wherein wr as never man yet laid. There laid they Jesus, because of the Jews' preparation day, for the tomb was nigh at hand. CHORUS

Lie still, O sacred limbs, lie sleeping, and I will lay aside my weeping; lie still: I too may rest in peace. The grave that was appointed you, to close the sum of suffering due, shall be my path to heaven, from hell my full release. CHORALE

Ah! Lord, when my last end is come, bid angels bear my spirit home To Abr'am's bosom going; My flesh, laid in the quiet tomb, shall sleep until the day of doom, Nor pain nor sorrow knowing. Then, waking from that dark abode, mine eyes shall see Thee face to face In boundless joy, O Son of God. My Saviour and my Throne of Grace. Lord Jesus Christ, give ear to me, who bring unending praise to Thee.

1063] To the —

Friends of the Boston Symphony Orchestra:

The permanence of the Society was assured by action,, of the Members at their first Annual

Meeting on March 27, 1935, attended by between four and five hundred of the Friends of the Orchestra.

Among other things the Members decided that they should take an active part in increasing enrollments,

and the result of their efforts is already apparent in many new memberships and a substantial increase in the aggregate of contributions.

Small contributions confer exactly the same privi-

leges of membership as the larger gifts, and no persons should refrain from enrolling as Friends because their contributions must be in small amount.

Edward A. Taft Chairman

To enroll as a Friend of the Orchestra simply make out a check to Boston Symphony Orchestra, Inc. for what-

ever amount you care to contribute and mail it to E. B. Dane, Treasurer, 6 Beacon Street, Boston.

[ 1064 ]

wmm FIFTY-FOURTH SEASON, NINETEEN HUNDRED THIRTY-FOUR AND THIRTY-FIVE

Twenty-third Programme

FRIDAY AFTERNOON, April 26, at 2:30 o'clock

SATURDAY EVENING, April 27, a* 8:15 o'clock

Bach-Handel Festival

Handel Concerto Grosso for String Orchestra, Op. 6 No. 6 in G minor

Handel Concerto for Two Wind Choirs, with String Orchestra INTERMISSION

Bach Brandenburg Concerto No. 5 for Orches- tra with Harpsichord, Violin and Flute

I. ALLEGRO II. ADAGIO AFFETUOSO III. ALLEGRO Harpsichord: Putnam Aldrich Violin: Richard Burgin Flute: Georges Laurent

Bach Passacaglia and Fugue for Organ in C minor (transcribed for orchestra by Ottorino Respighi)

A commemorative lecture on Bach and Handel will be given by Dr. Hugo Leichtentritt in the Lecture Hall, Boston Public Library, Monday, April 22, at 5:15 p.m. The public is invited

The works to be played at these concerts may be seen in the Allen A. Brown Music Collection of the Boston Public Library one week before the concert

{ 1065 ] SYMPHONY HALL

MONDAY, April 22, at 3

Boston Symphony Orchestra

Dr. SERGE KOUSSEVITZKY, Conductor CLOSING CONCERT OF THE MONDAY EVENING SERIES

Programme

Ravel . . . Suite for Orchestra, "Le Tombeau de Couperin"

Sibelius Symphony No. 7 (in one movement) Beethoven Symphony No. 5 in G minor, Op. 67

BOSTON OPERA HOUSE Wednesday Evening, April 24 at 8:15 ALL-WAGNER PROGRAM (IN ENGLISH) CHORUSES, SOLOS, AND ORCHESTRAL EXCERPTS FROM! Parsifal, Tannhduser, Die Meistersinger, Lohengrin, Rienzi HANDEL and HAYM SOCIETY Qg£) SYMPHONIC CHORUS OF 300 VOICES Dr. THOMPSON STONE, Conductor BOSTON ORCHESTRAL SOCIETY PAUL ALTHOUSE, Tenor BLANCHE HASKELL, Soprano VERA KEENE, Contralto JAMES HOUGHTON, Baritone HUDSON CARMODY, Bass

SEATS $2.50, $2, $1.50, $1, No Tax; BOXES (6 chairs) $25.00 at Jordan's, filene's, 1 Arlington st., (com. 1720)

1066 [ ] MUSICAL INSTRUCTION Mrs, Charles Adams White TEACHER OF SINGING Steinway Bldg., New York 105 Revere St., Boston Mondays—Tel. Circle 7-0187 Tel. Capitol 6745 HARRIOT EUDORA BARROWS TEACHER OF SINGING

541 BOYLSTON STREET, COPLEY SQUARE Telephone Kenmore 1164 JANE RUSSELL COLPITT PIANIST AND TEACHER TOBIAS MATTHAY PRINCIPLES OF PIANOFORTE YORKE-TROTTER PRINCIPLES OF "MUSICIANSHIP" 280 DARTMOUTH STREET. Tel. Kenmore 1283 ROY R. GARDNER TEACHER OF SINGING 108 CHARLES STREET Capitol 5157 In Providence Tuesdays, Institute of Musio, Hoppin Homestead Bldg., 357 Westminster Street FELIX FOX SCHOOL PIANOFORTE PLAYING FfeLIX FOX, Director 403 Marlborough Street, Boston Telephone Kenmore 0716 LAMBERT MURPHY TENOR TEACHER OF SINGING In Boston on Mondays STUDIO, 725 BOYLSTON STREET For appointments write to above address or phone Kenmore 3122 on Mondays SAMUEL ENDICOTT DICTION AND PRONUNCIATION FOR SINGERS, IN FRENCH, ITALIAN, GERMAN AND RUSSIAN SONG COACHING Studio: 402 PIERCE BUILDING ARY DULFER STUDIO OF VIOLIN PLAYING

26 MUSEUM RD. BOSTON, 8 THE LONGY SCHOOL OF MUSIC ALL BRANCHES OF MUSICAL INSTRUCTION 44 CHURCH STREET, CAMBRIDGE, MASS. Telephone: TROwbridge 0956

[ !o67 ] MUSICAL INSTRUCTION GERTRUDE TINGLEY SINGER AND TEACHER OF SINGING STUDIO, 33 NEWBURY STREET FACULTY ABBOT ACADEMY, ANDOVER, MASS. Telephones: Kenmore 8258, Aspinwall 7190 CHARLES COMPOSER PIANIST Mrs. Mabel Mann Jordan REPPER TEACHER Pupil of SILVESTRI, Naples, Italy Teacher of Piano: Adult beginners welcome. Harmony: gen- MANDOLIN, GUITAR, BANJO and UKULELE eral course; also keyboard work for playing dance Foreign and American Instruments for sale thematics on request. music Book of piano 206 COMMONWEALTH AVE., Boston Kenmore 6520 — Trinity Court — Boston Commonwealth 8908 GERTRUDE FOGLER HARRIS S. SHAW PIANO, ORGAN, MUSICIANSHIP FRENCH AND ENGLISH DICTION Mr. Shaw will form classes in Ear Training, Harmony and Improvisation. The plan of Study 543 Bovlston Street is along lines as given at Paris Conservatory 175 DARTMOUTH STREET . . . BOSTON Kenmore 7714 Kenmore 6520

Miss ROSE STEWART FRANK E. DOYLE SINGING TEACHER OF 14 STEINERT HALL 245 Chestnut Hill Avenue, Brighton SINGING Telephone Stadium 2326 JOHN LANE ROSALIND KEMPTON OF SINGING VIOLIN TEACHER TEACHER SOLO AND ENSEMBLE WORK STEINERT HALL 262 COMMONWEALTH AVENUE, BOSTON 162 BOYLSTON STREET, Rm. 23 BOSTON Creative work with ohildren a specialty Telephone Devonshire 9232 Ear training, Solfege. Daloroie Tel. Kenmore 6123 Miss CORINNE HARMON KATE FRISKIN PIANIST AND TEACHER PIANIST AND TEACHER

312 MARLBOROUGH STREET Member of Faculty Boston Abbot Academy on Telephone Commonwealth 1078 Andover, Mass«tts Wednesdays

Ruth Thayer Burnham Artiss de Volt TEACHER OF SINGING Member Guild of Vocal Teachers, Inc., New York HARPIST Boston: Huntington Chambers. Phone Circle 7622 458 Huntington Ave., Boston New York: 15 East 60th St, — Regent 45758 (Wed. & Thurs.) Telephone Highlands 1948 ISABEL FRENCH SOPRANO TEACHER OF SINGING Studio: 22 Embankment Road (Near Charles Street Subway) Telephone Lafayette 3930

JR°Hal TEACHER^ TiaHnmn SINGING <

[1068]